VISUAL ARTS
GRADE 12
NATIONAL SENIOR CERTIFICATE EXAMINATIONS
MEMORANDUM
MAY/JUNE 2021
INSTRUCTIONS AND INFORMATION
Read the following instructions carefully before commencing marking:
GENERAL INFORMATION FOR MARKERS
These marking guidelines serve as a guideline for markers as well as a teaching tool. Therefore, the guidelines for certain questions are in greater depth, so that the information may be used as learning material. Other parts of the marking guideline may merely be a suggested guideline.
NOTE: Markers are encouraged to reward candidates for what they know, rather than penalise them for what they don't know.
Assessing candidates' ability to analyse and respond to examples of visual culture
ACHIEVEMENT RATING CODE | TOPIC 3 VISUAL CULTURE STUDIES |
Outstanding 80–100% |
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Meritorious 70–79% |
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Substantial 60–69% |
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Moderate 50–59% |
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Adequate 40–49% |
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Elementary 30–39% |
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Not achieved 0–29% |
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MARKERS MUST ONLY MARK THE FIRST FIVE QUESTIONS ANSWERED AND IF A CANDIDATE DOES MORE THAN THE REQUIRED NUMBER OF QUESTIONS ONLY THE FIRST FIVE WILL BE CREDITED.
CANDIDATES MUST ANSWER ANY FIVE QUESTIONS.
The following mark allocation must be adhered to when only ONE artwork/artist has been discussed instead of TWO.
6 marks (max 3)
8 marks (max 5)
10 marks (max 6)
12 marks (max 7)
14 marks (max 8)
20 marks (max 12)
QUESTION 1: THE VOICE OF EMERGING ARTISTS
1.1 Candidate must critically analyse FIGURE 1a in an essay:
Line – Vertical lines of the reeds and poles are used to create the fence/grass wall in the background. Horizontal lines created by the slates of the fence create perspective. The irregular horizontal lines around the grass of the hut create form. The figures are not outlined.
Colour is natural or local, showing various tones of brown, rust, olive green and blue. The reddish browns contrast with the blue sky. The orange mat compliments the green trees. The warm colours against the cool background create depth. Black tones are used to create shadows. The dappled colours on the ground reflect the sky and push the warm colours forward.
Texture – The implied texture appears rough on the hay and on the grass wall. The texture is shiny and smooth on the skin. Some parts of the face and body appear wrinkled and muscular due to the careful handling of the tones in those areas. Texture is also indicated on the folds of the clothing and the blanket, making the fabric appear soft. The leaves of the tree appear rough.
Gerard Bhengu focused on his immediate surroundings and environment as a source of inspiration, capturing scenes of everyday life.
Due to the colour differences of the question papers from the different provinces, the provinces have to adapt the marking guidelines for interpretation.
1.2 Candidates must discuss one artwork by any TWO (one work per artist) artists in an essay. (10)
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QUESTION 2: SOUTH AFRICAN ARTISTS INFLUENCED BY AFRICAN AND/OR INDIGENOUS ART FORMS
2.1 Candidates must compare FIGURE 2a with FIGURE 2b by selecting any FOUR of the following:
Similarities:
Primary colours, blues, yellows, pink/red (browns) are used in both paintings. Blues are used in both backgrounds creating depth. Warm colours contrast with the cool colours. The colours in both paintings create a happy and bright mood.
Differences:
FIGURE 2a:
The background is a greyish blue, the figures are in yellow and the floor is brown/deep pink. The accessories are blue, yellow and burgundy. Black is used for the hair and patterns on the beadwork/clothing. The warm yellows contrast with the cool blues in the background, pushing the images forward. The dominant yellow figures in the foreground links to the flat shapes in the background. Black outlines are used to create TWO dimensionality. The happy colours create an exciting mood.
Song, dance and music is part of one’s culture and tradition. Mahlangu explores his African heritage as inspiration for his paintings, whereas Picasso uses three distorted figures in a dance performance.
FIGURE 2b:
Primary colours are used throughout the painting except in the dancing figures which are in pale pink. The flat pale pinks of the figures contrast with the blues in the background. The black bold outline makes the imagery TWO dimensional. The yellow rectangular shape on the floor creates depth. The scattered, abstract red shapes unify the painting. Flat areas of colour with patterns indicate either a curtain or wall paper in the background. The white on the figure on the right contrasts with the brown and the black next to it, creating dimension to the figure. The white creates balance with the figure on the left.
Similarities:
In both artworks the figures are dancing in a line. Composition is symmetrically balanced with equal weighting on either side. The vertical figures dominate the foreground creating a shallow background. The composition is overcrowded and compact. In both artworks the central figures are the focal point of the paintings.
Differences:
FIGURE 2a:
Landscape vs. horizontal format. Three figures dominate the picture plane. The central figure is pounding on a drum while the other two are dancing with their hands raised.
FIGURE 2b:
Portrait vs. vertical format. The figures are holding hands while moving in a rhythmic dance, each standing on one leg as to balance one another.
Similarities:
Both paintings are of energetic dancers with energetic hand and foot movements. Rhythm is created by the repetition or movement of the figures.
Differences:
FIGURE 2a:
The figures are portrayed partaking in a tribal African dance. They are illustrated with their feet apart, stamping on the ground. The figures on either side of the central figure are shown with their hands up in the air and without proper facial features. The central figure is playing a drum. Movement is created by the swinging of the necklaces of the centre figure. Rhythm is enhanced by the repetition of the hairstyles and patterned clothing. You can sense and feel the rhythm of the music through the artist's use of colour, imagery and movement. The body postures with hands stretched out and stomping feet all adds to the mood and atmosphere of the painting. The repetition of the curved lines in the bird and landscape contributes to creating movement.
FIGURE 2b:
The expression and style through colour and movement add to the mood of the frenzied dancing. All the figurative shapes and colours, even though grotesque in appearance, still transfer energy and euphoria. The posture of the figure on the left has a distorted head bent over at an awkward angle creating movement. The three figures have their legs bent upward at the knee and hold hands in a dance movement.
Similarities:
Both paintings reflect figures with African mask-like features. They portray an energetic dance resembling an African tribal dance.
Differences:
FIGURE 2a:
Mahlangu reflects his traditional African heritage in the painting of an African traditional dance. It's a celebration of the customs and rituals of the African culture. A large African mask is placed on the right of the painting which is traditionally part of the belief systems. There are African patterns on the mask. The figures are dressed in traditional African dress with beadwork and geometric patterns. The figures wear loincloths, ethnic bangles and beads around their ankles, arms and neck. There's an image of a yellow bird that overlaps the dancer in the centre. The incisions in the facial features could reflect the African scarification.
FIGURE 2b:
The distorted faces reflect the influence of the African mask. The dancers' shapes reflect the elongated distorted figures typical of Picasso's Cubistic style. There are dark outlines and fragmentation of shape.
Similarities:
Both artworks contain figurative images which have exaggerated, distorted and simplified features. They are primitive. Shapes are dominant and flat.
Differences:
FIGURE 2a:
Overlapping colours are applied in short quick brush strokes. Refer to expressionistic qualities in the artworks.
FIGURE 2b:
This Cubistic painting includes three distorted, elongated, flat images of three dancers. The first one on the left is barely visible. The background is filled with angular and geometric shapes e.g. rectangular doorways or windows. Features are reduced to stylised mouths, eyes and noses into circles and dots. The facial features of the eyes, nose and lips appear as paper cut-outs which resemble the paper cut-outs of Henri Matisse. (10)
2.2 Candidates must write a short essay on ONE artist's work that explores African heritage and name the artist and title of the artwork. They must refer to TWO artworks.
Candidates may consider the following in their answer:
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QUESTION 3: SOCIO-POLITICAL ART, INCLUDING RESISTANCE ART OF THE 1970s AND 1980s
3.1 Candidates must compare FIGURE 3a and FIGURE 3b by responding to the following:
FIGURE 3a:
The colour palette is limited to red and black. The background is predominantly red in colour which could symbolise the bloodshed in South Africa. The colour red could symbolise the revolution, defiance, hatred, militancy, anger, danger, political unrests, anguish and blood. The colours are similar to that of a stop sign. These colours record a community cut into pieces in a fever of destruction and death. The colour black could symbolise darkness, death, evil, negative force, fear, terror, etc.
FIGURE 3b:
Black, scribbled, rough lines dominate the artwork and create a sombre mood. The black can symbolise death, evil, darkness, terror, fear, violent, unrest, struggle, uneasiness creating a claustrophobic feeling or heaviness.
There is a bright yellow in both the trousers of two figures in the front and in the motor car. This stands out like road traffic signs (chevron which is yellow and black, as well as the red and white tape used to demarcate crime scenes) to warn against danger.
Similarities: Both have used black.
Differences: The red is dominant in FIGURE 3a while the black is dominant in FIGURE 3b.
During the 1980’s, heavy-duty armoured vehicles of the South African security forces were often present in many township areas. Paul Sibisi records his experiences in the township of Umkhumbane, Kwa- Zulu Natal, while Zan Louw portrays what she witnessed in Langa, Cape Town.
FIGURE 3a: Two dead/lifeless figures are portrayed lying on the ground in the middle of the composition close to the tyres. They are victims in the scene as they appear to have been run over. On the left of the composition, two bystanders in the middle ground seem to be disinterested in what's happening. The figure on the right hand side of the vehicle appears to be holding on or climbing on to the vehicle. The open stretched hand in the upper right corner of the format may be symbolic of the unrest or linking to the title Stop it now.
FIGURE 3b: Five soldiers are illustrated on top of the army vehicle. They seem to be in power. On the right hand side three figures are portrayed in the foreground by throwing stones at the soldiers. A smaller figure behind the yellow car bears witness to the scene.
Similarities: Both artworks have bystanders.
Differences: The figures in FIGURE 3a are passive, still or dead whilst the figures in FIGURE 3b are actively confronting the armoured vehicle with the soldiers. FIGURE 3b is active and it appears that the artist has captured the incident in the moment.
FIGURE 3a: The artist has used the words 'Stop it now' and added a double exclamation mark. He then repeats the word 'Now' and adds a further double exclamation. The exclamation marks are like an outcry and emphasise the urgency of the time phrase 'Now'. The artist wants to reinforce that the socio- political unrest must come to an end 'Now'/immediately. The title is linked to the hand gesture of stop! The colour red reflects a stop sign.
FIGURE 3b: The title is where the incident took place.
FIGURE 3a: Vertical, thick, bold, thin, light, broken, wavy, diagonal lines are used throughout the artwork. The vertical lines of the light poles create linear perspective. The variety of lines used in this artwork shows fragility or frailty which depicts the hopelessness or helplessness of the situation. It can also show restlessness or uneasiness or that they have accepted their circumstances.
FIGURE 3b: The repetitive, rhythmic, expressive, scribble, hatch-like lines and diagonal lines all add to the chaotic and claustrophobic atmosphere. (10)
3.2 Candidates must write an essay in which they must discuss any TWO South African artists (ONE work per artist) whose work reflects resistance against a society and/or political system.
They may use the following guidelines in their answer:
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QUESTION 4: ART, CRAFT AND SPIRITUAL WORKS MAINLY FROM RURAL SOUTH AFRICA
4.1 Candidates must discuss FIGURES 4a and 4b, and write a paragraph in which they refer to some of the following:
FIGURE 4a: The artist has used repetitive, rhythmic, descriptive, deep, thin and bold incised lines. Lines are used to create shape and identify various anatomical features. Vertical and diagonal lines are created by the incisions in the wood. Rhythm is created by the repetition of the flowing incisions. The natural grain of the wood is visible in the wings and the background.
The tree bark has tactile texture. The texture on the sculpture is deliberately created by incisions with wood carving tools. The tree bark has a rough appearance whilst some parts of the figure are smooth. The wings have rhythmical repetitive lines which create movement. The rough texture on the wooden pillars creates a contrast with the smooth surfaces of the sculpture.
FIGURE 4b: The horizontal lines on the clothing represent a calm atmosphere. The curved and diagonal lines seen in the extended arms in the figure create movement. The bronze figures have a tactile texture which contrasts with the smooth, polished surface of the base.
FIGURE 4a: Movement is created by the artist depicting the sculpture in a walking position. The angel has one leg in front of each other and bent at the knee with one arm raised. The legs have been sculptured with a weight shift. The wings and curvilinear lines show movement.
Many artists express their own interpretation of spirituality, and, in doing so, often portray simplified and distorted images. Their work is honest, without biased messages reflecting their true beliefs.
FIGURE 4b: The figures seem to appear in a dance pose, arms outward stretched and legs apart. The figure on the right has a knee bent. The concave shapes of the body make it seem as if they are being blown by the wind whilst dancing. The flat base contrasts with the figures in motion.
FIGURE 4a: The face of the Angel has a wide smile with eyes closed. The Angel appears calm, peaceful, happy, relaxed and serene.
FIGURE 4b: The faces are stylised with exaggerated noses and ears. The lack of the mouths indicates that they are mute and have no voice. The lack of facial features can be compared to an African mask.
FIGURE 4a: The forehead is small with a large triangular nose that is out of proportion in the relation to the rest of the facial features. The body is shown in a profile view similar the Egyptian figures. The arms and hands are very small in proportion to the rest of the body.
FIGURE 4b: The figures are foreshortened and out of proportion. The faces are very small in relationship to the flattened bodies. The arms are thin and short in relation to the body. The head is minute compared to the large, wide body. The simplified shapes of the heads are similar in both artworks. The figures are distorted, stylised and simplified. (8)
4.2 Candidates must discuss the work of any TWO artists (ONE work per artist) who create art, craft, and/or spiritual works from rural South Africa.
They must refer to the following guidelines:
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QUESTION 5: MULTIMEDIA AND NEW MEDIA – ALTERNATIVE CONTEMPORARY AND POPULAR ART FORMS IN SOUTH AFRICA
The artist Sigalit Landau decided to submerge a black dress in the Dead Sea. The black dress was submerged in the salt-rich waters for two months. The project is an eight-part photography series in which the artist captures the gradual process of salt crystallisation.
Crystallisation: It is the process by which solids are formed when the atoms or molecules are arranged into a structure known as a crystal.
Dead Sea: The Dead Sea is a salt water lake in the Middle East, located between Israel and Jordan. It has a high salt and mineral content and is famous for being the lowest point on Earth. No plants or animals can live in this lake because it has almost 10 times more salt than ordinary sea water. The Dead Sea is also a tourist attraction for healing/skin exfoliation.
By referring to the visual sources in FIGURES 5a and 5b, candidates must write an essay in which they discuss the following, also include ONE South African Multimedia and/or New media artist who has used new/alternative media to create an interesting/unusual/alternative artwork.
Background information: Teacher's tool
The Dead Sea has appeared as a ritualistic theme in the artwork/s of Sigalit Landau. The Dead Sea is situated in a desert landscape, and its saltiness allows the artwork to transform into a crystalline object of wonder. Landau's work is radical, humane and visionary. Like salt, it sustains the essence of life while also healing its wounds.
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QUESTION 6: POST-1994 DEMOCRATIC IDENTITY IN SOUTH AFRICA
'I wanted to paint something that they would feel belongs to them' – Faith 47
The Warwick Junction market is often regarded as a 'danger zone'; however, the murals now celebrate the identity of the traders of the market by monumentalising their images on the supporting columns of the bridge.
Monumental: Colossal/huge in scale or larger than life. Giving recognition and
honour to commemorate a person of importance.
6.1 Candidates must refer to the above statement and FIGURE 6a–6d, and discuss in an essay how the artist explores social identity through the murals.
They may refer to the following:
How these murals reflect the traders' identities
The artist has selected individuals who are traders from the market as models for the mural, reflecting their individual identity. The imagery captures their daily wear as they would be recognised by shoppers and of members of the public. They are wearing their traditional clothing classifying their ethnicity. Faith 47 has created realistic portraits of the traders from the market, capturing them in their natural pose and in a humble demeanour. The animal images reflect the cultural heritage of the traders, representing wealth and status of the African culture. It also gives the traders pride and a sense of belonging in the area that they work in.
6.2 Candidates must discuss the work of any TWO artists who address identity in a democratic South African society (ONE work per artist) and must name the artists and the title of the artworks.
Candidates may refer to the following guidelines:
Candidates must discuss artworks post 1994 (10)
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QUESTION 7: GENDER ISSUES: MASCULINITY AND FEMININITY
7.1
The poses of the women in FIGURES 7a–c tell very different stories. Candidates must discuss this statement by referring to the following:
7.2 Candidates must write an essay in which they discuss TWO artworks which comment on the stereotypical perceptions of gender. Name the artist and title of the artwork. (10)
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QUESTION 8: ARCHITECTURE IN SOUTH AFRICA
Gable: It is the decorative feature above the front door.
Holbol: It has an inward outward symmetrical curve referred to hol (hollow) and bol (ball) from which the gable gets its name.
8.1 Candidates must write a paragraph discussing FIGURES 8a–8c, in which they must refer to the following:
Teaching tool 8a:
The elegant style of architecture that came to be known as the Cape Dutch architecture, evolved over a period of time from the 17th century through to the early 19th century. The early Cape Dutch buildings were simple thatched-roof, whitewashed farm houses. They were generally rectangular in shape with a wooden frame, wattle wood and clay walls, and shuttered windows symmetrically placed on either side of the central front door. Influenced by the 17th and 18th century architectural trends in Holland, gables were introduced to homes being built in the Cape, and this became the distinguishing feature of Cape Dutch architecture. Cape Dutch architecture featured one large gable above the front door, which allowed space for the coat of arms of the family, date of construction, or other embellishments which were meaningful to the owners. Steyn was tasked with designing a place of worship and locale underpinned by Psalm 36:7, 'how priceless is your unfailing love, O God! People take refuge in the shadow of your wings,' a verse that adds poetry to the form. Looking for simplicity, he drew some inspiration from the Moravian mission churches of the 1800's in Mamre and Wuppertal, their white lit interiors and absence of traditional papal paraphernalia evoking a sense of lightness and tranquillity. The same calm energy pervades the chapel at Bosjes.
As building techniques and technology are changing, more creative structures are built. The slim reinforced concrete roof of the chapel gives the building its fluidity, complimenting the curls of the ‘holbol’ gables typical of all Cape Dutch Manor houses.
8.2 Candidates must discuss any TWO South African buildings and must name the architect and title of the building/structure.
Consider some of the following for your answer
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